Splanky: 2nd B-flat Trumpet

Sammy Nestico's arrangement filters a Hefti classic through the Basie sound, which means your band gets the swagger and precision of one of jazz history's greatest orchestras without the extreme demands. The solo slots feel natural rather than tacked on, the rhythm section has room to really play, and the whole thing sits in a sweet spot where students sound genuinely good without fighting the music.

The groove settles into a medium-tempo bounce that feels effortless once your rhythm section locks in. Hefti's melody has the kind of approachability that lets the ensemble focus on phrasing and articulation rather than note-reading, while Nestico's voicings keep things sophisticated enough that you never sound like you're playing something easy.

Intermediate jazz ensembles ready for their first serious contest or festival appearance. This is the piece that proves your band has learned something real about swing style and section playing.

• Anchor the chart in the rhythm section. Have your drummer listen closely to the hi-hat and kick pattern on the reference recording; those Basie-style hits under the band hits are what lock the swinging feel into place.
• Shape the brass fills with space. The Nestico arrangement gives you authentic rhythm section comping, so let those moments breathe rather than filling every gap with ensemble sound.
• Build solo confidence during sectional rehearsals before running full ensemble. Tenor, trumpet, and trombone soloists need to hear how their lines sit against the walking bass and comping chords.
• Balance the full ensemble sound by checking your trumpet and trombone counts. Grade 3 ranges sit comfortably here, but watch for any players pushing too hard on sustained notes.

Slot this into a contest set where you want something that demonstrates both jazz fundamentals and musicality in the middle position. It also works beautifully on a concert alongside standard big band charts, showing audiences the connective tissue between Basie-era repertoire and what student musicians can handle.

• Swing articulation and phrasing in an ensemble context
• Comping and rhythm section communication for piano, bass, and drums
• Solo construction over jazz changes
• Reading and playing sectional brass voicings with balance and clarity
• Listening for head arrangement cues and section hits